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Cultures & Communities

Furniture, cooking wares, clothing, works of art, and many other kinds of artifacts are part of what knit people into communities and cultures. The Museum’s collections feature artifacts from European Americans, Latinos, Arab Americans, Asian Pacific Americans, African Americans, Gypsies, Jews, and Christians, both Catholics and Protestants. The objects range from ceramic face jugs made by enslaved African Americans in South Carolina to graduation robes and wedding gowns. The holdings also include artifacts associated with education, such as teaching equipment, textbooks, and two complete schoolrooms. Uniforms, insignia, and other objects represent a wide variety of civic and voluntary organizations, including youth and fraternal groups, scouting, police forces, and firefighters.

This papier-mâché mask was made by Miguel Caraballo in 1985. Masks like this are typically worn by young men from the neighborhood, who don the costume of a vejigante , a character who roams the streets during Carnival, playfully scaring children and other revelers, and swatting them with vejigas (balloon-like, inflated animal bladders).

Mask maker Antonio Muñiz has added the horns of a traditional carnaval de Ponce mask (usually representing a devilish face) to a gorilla. This papier-mâché mask has an articulated jaw and a vinyl tongue.

Jesus Christ is represented in a variety of forms in Catholic art and devotion, one of the most familiar being the scene of his crucifixion. Almost as frequently, Christ is shown as an infant, often being held by his mother, the Virgin Mary. This wooden figure of El Niño Jesús, the Christ Child, is from the late 19th century.

This tile is from La Fortaleza, a military and government complex in San Juan built to defend the city from naval attacks. Construction began in 1533 and was finished in 1540. This tile resembles the Spanish ceramic style of Talavera, a tile factory established in the 16th century near the city of Toledo, Spain. The tiles produced in Spain became widely used and copied throughout the Spanish colonies.

The ancient symbol of a protective hand is common to Christians, Jews, and Muslims. This figure, the Mano Poderosa or All-Powerful Hand, from the late 1800s, is a specifically Catholic version of its Roman predecessor. The five small figures atop the fingers are: Baby Jesus on the thumb; St. Joseph on the index finger; the Virgin Mary on the middle finger; St. Joachim (Mary's father) on the fourth finger; and St. Anne (Mary's mother) on the pinkie.

This 20th century protective amulet takes the form of a sword. Amulets like this are worn with the belief that they ward off evil, danger, or bad luck, and provide strength and reassurance to the wearer.

In the 15th century, decades before they sailed into the Caribbean, Spanish merchants, captains, and adventurers had already conquered and enslaved the people of the Canary Islands in the eastern Atlantic Ocean. On the western coast of continental Africa, the Portuguese had been cultivating a slavery-based economic policy. This legacy of conquest and slavery shaped the colonization of Puerto Rico and other islands in the Caribbean. Some of the first American encounters between Europeans, Indians, and Africans took place in Puerto Rico, and its early history of genocidal violence and physical exploitation was repeated throughout the Americas.

San Ramón Nonato is associated with secrets and silence. He is the patron saint of both victims of gossip and women in labor. Born in Catalonia in the early 13th century, his mother died in labor and he was surgically removed from her womb. He was an ardent and persecuted Christian missionary in North Africa. To stop him from converting others to Christianity, his lips were pierced with a hot iron and clamped shut with a lock.

The marímbula, (also marímbola), is an African-derived folk instrument found across the Caribbean. Large enough for its player to sit on, this instrument consists of a large, resonating box with metal strips that are plucked to provide a simple bass accompaniment. Its affordability, ease of construction, and portability (it can be strapped to its player like a marching drum), made it adaptable to many styles of folk music, from the roving aguinaldo of the Christmas season to a street-corner plena.